Emmett Louis Till (July 25, 1941 – August 28, 1955) was an African-American teenager who was lynched in Mississippi at the age of 14 after reportedly flirting with a white woman. The brutality of his murder and the fact that his killers were acquitted drew attention to the long history of violent persecution of African Americans in the United States. Till posthumously became an icon of the Civil Rights Movement. MORE
The Definitive Emmett Till: Passion and Battle of a Woman for Truth and Intellectual Justice

I met Dr. Clenora Hudson-Weems in D. C. at the National Ford Annual Conference in 1987. She was one of the plenary speakers, rendering a most eloquent and engaging slide presentation on her groundbreaking thesis of Till as catalyst of the civil rights movement. It was astounding; I remember it as though it were yesterday. Clenora s work resonates with me to this day. At that moment, she resurrected and established Till as the beginning of the Movement. Later, shortly before completing the Ph.D. in May 1988, she began communicating with Emmett s mother, Mamie Till Mobley and encouraging her to seek justice for her son s brutal murder. Thus anyone who lays claim to exhuming the Till saga before Dr. Hudson-Weems demands to be questioned. - Dr. William Turner, Vice Pres; Assoc. Provost, U. of KY It is the responsibility of all writers to cite the research and writings of those who come before them. In a world where credit is often given to mediocrity, we can ill afford to ignore the work of the scholars who pave the way for us to craft story. Hudson-Weems Till writings are clearly the first full length studies to establish the lynching of this martyr as the true catalyst for the Modern Civil Rights Movement. Hence, anyone writing after her on this subject has the responsibility to not only know the source but to cite her work as well. To not do this or to claim ignorance of her work is an obvious sign of fraud, inferior research, or arrogance. - Evelyn Coleman, Award-Winning Author of What a Woman s Gotta Do For nearly 20 years, Hudson-Weems was the lone voice calling for a fresh assessment of the true historical significance of the murder of Emmett Till. That voice has lately been joined by a host of others, but there is disharmony in the choir. The de facto failure to credit, let alone acknowledge, both her pioneering work and her rightful place as the preeminent Till scholar is more than intellectual theft; it is personal grand larceny. The truth needs to get out that the real authority about Emmett s story is Clenora. When someone s dedicated his or her life, and mined the subject as much as Clenora has, her name needs to be connected with what she s done. Further, my own effort to assist Clenora in realizing her dream of producing a motion picture based on her research and vision of racial healing through redemption has also been compromised by this sudden rash of Till experts. Modern day pirates beware; legions stand between you and your greed. With the support of her many friends, colleagues, and true believers, Dr. Hudson-Weems unique voice will not be lost in the present cacophony, nor will her impersonators go unchallenged. - Barry Morrow, Oscar Award-Winning Co-Writer for Rain Man; Producer"

How Emmett Till Connects to The Death of Emmett Till
  • Bob Dylan recorded a song titled "The Death of Emmett Till" in 1962. from Emmett Till

  • "The Death of Emmett Till", also known as "The Ballad of Emmett Till", is a song by American musician Bob Dylan about the murder of Emmett Till. from The Death of Emmett Till

"The Death of Emmett Till", also known as "The Ballad of Emmett Till", is a song by American musician and Nobel Laureate Bob Dylan about the murder of Emmett Till. Till, a 14-year-old African American, was killed on August 28, 1955, by two white men, reportedly after flirting with a white woman. In the song's lyrics, Dylan recounts the murder and trial.

One bootlegged performance, which was recorded from Cynthia Gooding's radio show called Folksinger's Choice sometime in early 1962, starts with Dylan saying that the melody is based on chords he heard from folk musician Len Chandler. The melody is quite similar to "The House of the Rising Sun" from the album Bob Dylan. Dylan's performance of the song was released on the 1972 album Broadside Ballads, Vol. 6: Broadside Reunion, under the artist name Blind Boy Grunt. Another recording, taped as a demo for music publisher M. Witmark & Sons and also bootlegged for many years, was released on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964 in October 2010.

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